题为《山水》的系列作品不仅意味着一般而言的户外景观，而且也象征了
每个人内心之中都会有的一种哲学观念。韩磊在自己的摄影作品中并未试
图复原生活或自然的现实，而是意图揭示自己在处理主题时的思想过程。
那是一种再现，一种再造，而不仅仅是呈现。对这位艺术家而言，“摄影
重要的一面并不在于它必须完美，而是必须提供标记了瞬间的一幅影像。”
在《山水》中所包含的意义与形式，无法仅仅用“再现生活”或“记录时
间”来描述，而更多地是再现了他对某个主题的记忆和感觉。他有意去除
了一处特定景观的个性特征和他自己的看法，接受了普遍意义上的风景的
观念和情感，达至“人类所共有的伟大情感”。
正如艺术家所说的：“我是把一个虚构的现实投射到我所拍摄的对象上；
这样的现实试图与现实世界达成一致，并且出自我的记忆。”这幅新近拍
摄的照片，用一种更分散的视角解构了西方透视和焦点的法则。这种绘画
效果又因为艺术家手工在照片原作上着色而进一步得到强化。

The series is entitled "Shan Shui" (or“ Landscape”) which
stands not only for outdoor landscape in general, but also for a
philosophical that dwells in everybody’s heart.
Han Lei does not use photography as an attempt to restore
the reality of life or nature, but rather intends to reveal his own
thought processes through the manipulation of the subject
matter. It is a representation and a re-creation, rather than
simply a presentation. For the artist,“ the important aspect of
photography is not that it must be perfect; it is only that it must
supply an image emblematic of the moment”.
The meaning and form of his“ Shan Shui” series cannot be
described as a simple“ representation of life” or“ recording of
time”, but more as a re-creation of his memories and feelings
on a certain subject. He purposefully removes the individuality
of specific landscapes in order to embrace the idea and emotion
of landscape in general, resulting in a“ great sentiment shared
by humanity”.
The artist once said,“ I am projecting a fabricated reality on the
objects I shoot; this reality attempts to reach a consensus with
the actual world and my memories”.
The pictures, taken in the present time, deconstruct Western
rules of perspective and focus on a more dispersed and
diffused view. The artist further enhances this effect by hand
painting the original photographs.